In the second lesson, Mr. Majed starts explaining how to position and play using the left hand. Now, after practicing how to play using the right hand in lesson number one, Mr. Majed will move on to playing using both hands.

In the second part of the previous lesson, Mr. Majed gives an exercise that will help students in getting used to playing using both hands. Mr. Sorour focuses on the shape of the hand while transferring from one string to another.

Mr. Majed Sorour introduces a new method called the hopping method, using both hands.

Mr. Sorour continues what he started in the previous lesson, explaining the hopping method using Triolet or triplets and finally using the Ta Ti rhythm.

In this lesson Mr. Majed Sorour explains the meaning of the word Octave, and the musical scale, and how to play it with the “hopping” method.

Mr. Sorour continues to play the exercise on the entire Octave. He plays with a new musical concept called the Arpeggio. At the end of this lesson Mr. Sorour starts with a new form of rhythm which is the Ta Ti Ta.

In lesson number five, Mr. Majed Sorour gives a collection of exercises to enable the student to self-develop in playing the musical scale using the “hopping” method

Continuing to play the exercises in addition to new ones on the Qanun, Mr. Majed draws our attention that those exercises need both patience and gradually picking up speed so that the students can play them correctly without mistakes.

In lesson number six, Mr. Majed covers some information about the Qanun, number of strings and vocal space of this instrument. He also mentions the importance of this instrument in oriental musical history.

Mr. Majed plays a well-known track on the Qanun, explaining and showing how to play it.

In this lesson we learn with Mr. Majed how to play the Nahawand Do scale, and what are its dimensions. Mr. Majed plays the famous track “Mon Amor”.

Playing the continuous sounds or as they are called on the Qanun “Al Ferdash”. Mr. Majed starts playing an example then moves on to the method of playing. Gradually exercising is the key to master this important playing technique.

In this lesson Mr. Majed applies “Al Ferdash” technique explained in the previous lesson through a very famous song “Nassam Alyna El Hawa” by Fairuz.

Changing and managing the mandals while playing the Qanun is the subject of this lesson with Mr. Majed. He applies it through playing the second verse of Nassam Alyna El Hawa by Fairuz.

In this lesson we are introduced to the Rast scale known as the master of scales. We will learn the dimensions of this scale which is important to oriental music. Then Mr. Majed explains and plays the Rast Doolab.

Mr. Majed plays an exercise on the Rast scale while applying “Al Ferdash” technique.

In lesson number fourteen, we learn with Mr. Majed how to play the famous Tarabi song “Ya Mal El Sham” on the Qanun.

Mr. Majed explains the dimensions of Al Bayyati scale while playing it on the Qanun. Then Mr. Majed plays Al Bayyati Doolab.

Mr. Majed plays the song “Gana El Hawa” by Abdul Haleem Hafeth which is on Al Bayyati scale.

Mr. Majed Sorour explains the dimensions of Al-Kurd scale on the Qanun. Then Mr. Majed plays “Ahu Da Elli Sar”

Continuing to play this amazing song, Ahu Da Elli Sar by Sayyed Darwish, where Mr. Majed shows the conversions happening while playing the Qanun.

One of the solos already played on the Qanun, and has been played in Enta Omri by Um Kulthoum by musician Abdo Saleh.

Continuing to play the rest of Enta Omri by Um Kulthoum.